Someone comes and drags you in front of the camera, and they're already saying, "Okay, we got it. Moving on." You get one or two takes. So it's a tough job.

Someone comes and drags you in front of the camera, and they're already saying, "Okay, we got it. Moving on." You get one or two takes. So it's a tough job.

A lot of people live with no apparent means of support. I kind of envy the musicians up there. You're down here, busting your ass in Hollywood, and it's like Lily Tomlin's joke about the rat race - all you prove in the end is that you're a rat.

I'm used to doing a lot of dolly tracks.

I wouldn't want to put myself up for something that I didn't think I could do a good job on. I wouldn't to direct material I didn't feel I could serve, but I don't have anything against doing bigger pictures.

I really don't know where the independent fits in anymore when twenty-five million dollar movies are considered straight-to-video fare. We're like penny postage stamps.

There's something with actors in their 40s, I don't know - there's this tendency with these guys, either they're not where they wanted to be, or - I mean, this guy was making good money and working a lot. It's almost like they have a bad conscience about the job, like it's unmanly or something, so they try to compensate by busting the director's balls 24/7.